Seite - 143 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

Jewish Spaces of Retreat at the Turn of the Twentieth Century | 143 Notes 1. Philip Nord, Impressionists and Politics: Art and Democracy in the Nineteenth Century (Lon- don: Routledge, 2000), 11. 2. Felix Krämer, “Monet und die Geburt des Impressionismus,” in Monet und die Geburt des Impressionismus (Munich: Prestel, 2015), 16–18. 3. Whether we may consider Tina Blau a Jewish painter despite her conversion is a diffi cult question, for her exact relationship to Judaism remains unknown. However, for the pur- poses of this study, I categorize her as a Jewish artist, as the Jewish Museum in Vienna also dedicated an exhibition to her work in 1996. See G. Tobias Natter and Claus Jesina, Tina Blau (1845–1916) (Salzburg: Galerie Welz, 1999). On Tina Blau, see also Zdrawka Ebenstein, “Zum Werk von Tina Blau,” in Tina Blau (1845–1916): Eine Wiener Malerin, ed. Österreichische Galerie im Oberen Belvedere (Vienna: Eigenverlag), 17–22. 4. Hillary Hope Baron, “Vienna Is Diff erent,” in Jewish Writers in Austria from the Fin de Siè- cle to the Present, Austrian and Habsburg Studies 12 (New York: Berghahn Books, 2013), 42–43; Felix Salten, Das österreichische Anlitz (Berlin: S. Fischer, 1910), 117–26. 5. Salten, Anlitz, 78. 6. Salten, 78. 7. Old Vienna (Alt-Wien) was occupied periodically as early as the Middle Ages. See Rich- ard Kralik and Hans Schlitter, Wien: Geschichte der Kaiserstadt und ihrer Kultur (Vienna: Holzhausen, 1912), 736. 8. Elana Shapira and Moses und Herkules, “Ein Beitrag des jüdischen Bürgertums zur Ge- staltung der Ringstraße und des Praters, in Ringstrasse: Ein jüdischer Boulevard, ed. Gabri- ele Kohlbauer-Fritz (Vienna: Amalthea, 2015), 168. On the ways Jews in the nineteenth century engaged with Hellenistic Judaism, see Yaacov Shavit, Athens in Jerusalem: Classical Antiquity and Hellenism in the Making of the Modern Secular Jew (London: Littman Li- brary of Jewish Civilization, 1999). 9. In Becoming Austrians: Jews and Culture between the World Wars, Lisa Silverman writes, “For Jews, however, this vision [Old Vienna] had little appeal, given that it did not include them” (Oxford: Oxford University Press 2012), 118. Th is estimation appears to stem less from original research than from simplistic reasoning, as it cannot be substantiated here. 10. On Old Vienna, see Wolfang Kos and Christian Rapp, eds., Alt-Wien. Die Stadt, die niemals war (Wien: Czernin Verlag 2005); Monika Sommer and Heidemarie Uhl, eds., Mythos Alt-Wien. Spannungsfelder urbaner Identitäten (Innsbruck: Studienverlag, 2009); Inge Posbrecky, “Die Wiener Ringstrasse,” in Der Traum vom Glück: Die Kunst des His- torismus in Europa (Vienna: Christian Brandstätter, 1996), 267 (267–73). A space of retreat without the burdens and tensions that shaped reality was a prevalent topos in many cities, in addition to Vienna. Just as the Habsburg metropolis Vienna did with Old Vienna, the French capital for example created a copy of itself that extended back into history with Vieux Paris (Old Paris). At the World’s Fair in 1900, the historic version of the city was one of the most popular attractions (Philipp Blom, Der taumelnde Kontinent: Europa 1900–1914 (Munich: Carl Hanser, 2009), 23. 11. Sanjay Subrahmanyam, “Connected Histories: Notes towards a Reconfi guration of Early Modern Eurasia,” Modern Asian Studies 31, no. 3 (1997): 735–61. 12. Illustrirtes Wiener Extrablatt [IWE in subsequent citations] 115 (27 April 1903): 1. This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.